It’s not just a phase. Wunderhorse return with sophomore record, ‘Midas.’
Wunderhorse’s debut album ‘Cub’ gave us a cursory introduction to the English rock band, but now comes a shift in tone from the four-piece, with lead vocalist Jacob Slater captaining the ship of their spell-binding second record, ‘Midas.’
Released last month, following a series of powerful performances across the festival circuit, ‘Midas’ showcases Wunderhorse’s ability to blend hard-hitting lyrics with a dynamic sound that treads the line between gritty rock and introspective moments.
Jacob Slater first captured attention as the frontman of the punk rock band, Dead Pretties. Following their disbandment, he launched Wunderhorse as a solo endeavour. In 2021, the band evolved into a four-piece and were propelled to stardom, supporting the likes of Fontaines DC and Pixies on tour. Their first album ‘Cub’ was released the following year. Whilst ‘Cub’ stands as a strong debut, with stand-out tracks including ‘Leader of the Pack’ and fan-favourite ‘Teal,’ their second offering, ‘Midas,’ is a far more assured record, with the band coming into their own as a standout rising star in the indie rock scene.
Kicking off with a fiery title track, the album makes an immediate impact. Listeners are greeted with what can only be described as a punch to the gut. In many ways, the track feels like a reincarnation of the group’s voice – Slater’s trademark incendiary vocals and a striking guitar hook reintroduce listeners to Wunderhorse’s matured sound. Taking inspiration from Ancient Greek mythology, Wunderhorse draw upon the character of Midas, a king famed for his ability to turn everything he touches into gold. Slater describes his titular character as “the guy who makes you feel like a pencil stub, all used up and nothing to show for it, but it’s always just business as far as he’s concerned” (via Dork). Interestingly, Midas is not the only character we encounter throughout the course of the record. The eponymous figure fades into several personas including a slick sweet-talker on ‘Silver,’ a lost paternal figure on ‘Cathedrals’ and a Radiohead-esque loner on ‘Superman.’ The record vividly captures the many dimensions of the human experience.
Drawing to a close, the final track ‘Aeroplane’ steals the listener’s heart with a rawness and vulnerability that has not been attempted by the band on their previous singles. The 8-minute track is captivating, with a distorted guitar solo and the woeful refrain, “I can't stand it/ It tears me inside/ I'm just the, the beggar at the banquet/ And I only want to waste your time.” With hints of Bob Dylan and Neil Young, the tune maintains a sense of haunting intensity throughout its mammoth runtime, sealing the record closed with an air of melancholy contemplation.
Unleashing a record that blends elements of raw energy and quiet meditation, this album pushes into uncharted territory for Wunderhorse. ‘Midas’ marks a defining moment of creative evolution for the band, and leaves us intrigued to see what they’ll do next.